MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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Lives irrelevant to most people
Instead of Deliverance we are presented with an overlong, flat episode of Friends, writes SIMON PARSONS
UNDERWHELMING: (L to R) Noel Sullivan, Ben Lamb, Kristin Atherton and Christine Gomes
[Sam Taylor]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
How to Survive an Apocalypse
Finborough Theatre
CANADIAN playwright Jordan Hall leans heavily on climate change in her writing and How to Survive an Apocalypse is no different, turning to Survivalism – the skills and requirements of individuals preparing for imminent disasters.
This should be a timely drama with Covid ravaging much of the planet, fuel shortages and a pivotal, world summit on climate change only a month away, but unfortunately the premise is only a lens to observe a series of young, middle-class professionals and their relationship needs.
Jen, an overpowering and self-driven magazine editor, is faced with rebranding her creation from a publication for aspiring young professionals to one engaging with survival skills. Her husband Tim, a failed video game creator who lives his life though digital simulations, cannot compete with the square-chinned, broad-shouldered, arrogant, alpha male brought in as a consultant to oversee the transformation.
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MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
GEOFF BOTTOMS recommends an inspiring, political and bittersweet account of the munitions factory workers who are the fore-runners of the modern women’s game
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship